Following hard on the explosion of British punk, in 1979 Gang of Four produced post-punk's smartest record, Entertainment! For the first time, a band wedded punk's angry energy to funk's propulsive beats�and used that music to put across lyrics that brought a heady mixture of Marxist theory and situationism to exposing the cultural politics of everyday life. But for an American college student from the suburbs�and, one expects, for many, many others, including British youth�Jon King's and Andy Gill's mumbled lyrics were often all but unintelligible. Political rock �n' roll is always something of an oxymoron: rock audiences by and large don't tune in to be lectured to. But what can it mean that a band that made pop songs as political theory actively resisted making that theory legible? Coming to terms with the impact of Entertainment! requires us to take the mondegreen�the misunderstood lyric�seriously. The old joke has it that the title of R.E.M.'s debut album should have been not Murmur, but Mumble: true, so far as it goes. But that's the title, too, of rock �n' roll's Greatest Hits compilation�and that strategic inarticulateness itself, which creates such an important role for the listener, has an important politics.
Following hard on the explosion of British punk, in 1979 Gang of Four produced post-punk's smartest record, Entertainment! For the first time, a band wedded punk's angry energy to funk's propulsive beats-and used that music to put across lyrics that brought a heady mixture of Marxist theory and situationism to exposing the cultural politics of everyday life. But for an American college student from the suburbs-and, one expects, for many, many others, including British youth-Jon King's and Andy Gill's mumbled lyrics were often all but unintelligible. Political rock 'n' roll is always something of an oxymoron: rock audiences by and large don't tune in to be lectured to. But what can it mean that a band that made pop songs as political theory actively resisted making that theory legible? Coming to terms with the impact of Entertainment! requires us to take the mondegreen-the misunderstood lyric-seriously. The old joke has it that the title of R.E.M.'s debut album should have been not Murmur, but Mumble: true, so far as it goes. But that's the title, too, of rock 'n' roll's Greatest Hits compilation-and that strategic inarticulateness itself, which creates such an important role for the listener, has an important politics.
This book, first published in 1987, tells the intriguing and culturally complex story of the art school influence on postwar British popular music. Following Romantic attitudes from life class to recording studio, it focuses on two key moments – the early 1960s, when art students like John Lennon and Eric Clapton begin to play their own versions of American rock and blues and inflected youth music with Bohemian dreams, and the late 1970s, when punk musicians emerged from design courses and fashion departments to disrupt what were, by then, art-rock routines. Sixties rock Bohemians and seventies pop Situationists were, in their different ways, trying to solve the art students’ perennial problem – how to make a living from their art. Art Into Pop shows how this problem has been shaped by the history of British art education, from its nineteenth-century origins to current arguments about ‘pure’ and ‘applied’ training. In their simultaneous pursuit of authenticity and artifice, art school musicians exemplify the postmodern condition, the collapse of any distinction between ‘high’ and ‘low’ culture, the confusions of personal and commercial creativity. And so high pop theorists rub shoulders here with low pop practitioners, experimental musicians debate avant-garde ideas with corporate packagers, and artistic integrity becomes a matter of making oneself up.
Bringing together exciting new interdisciplinary work from emerging and established scholars in the UK and beyond, Litpop addresses the question: how has writing past and present been influenced by popular music, and vice versa? Contributions explore how various forms of writing have had a crucial role to play in making popular music what it is, and how popular music informs ‘literary’ writing in diverse ways. The collection features musicologists, literary critics, experts in cultural studies, and creative writers, organised in three themed sections. ‘Making Litpop’ explores how hybrids of writing and popular music have been created by musicians and authors. ‘Thinking Litpop’ considers what critical or intellectual frameworks help us to understand these hybrid cultural forms. Finally, ‘Consuming Litpop’ examines how writers deal with music’s influence, how musicians engage with literary texts, and how audiences of music and writing understand their own role in making ‘Litpop’ happen. Discussing a range of genres and periods of writing and popular music, this unique collection identifies, theorizes, and problematises connections between different forms of expression, making a vital contribution to popular musicology, and literary and cultural studies.
As the Sex Pistols were breaking up, Britain was entering a new era. Punk’s filth and fury had burned brightly and briefly; soon a new underground offered a more sustained and constructive challenge. As future-focused, independently released singles appeared in the wake of the Sex Pistols, there were high hopes in magazines like NME and the DIY fanzine media spawned by punk. Post-Punk, Politics and Pleasure in Britain explores how post-punk’s politics developed into the 1980s. Illustrating that the movement’s monochrome gloom was illuminated by residual flickers of countercultural utopianism, it situates post-punk in the ideological crossfire of a key political struggle of the era: a battle over pleasure and freedom between emerging Thatcherism and libertarian, feminist and countercultural movements dating back to the post-war New Left. Case studies on bands including Gang of Four, The Fall and the Slits and labels like Rough Trade move sensitively between close reading, historical context and analysis of who made post-punk and how it was produced and mediated. The book examines, too, how the struggles of post-punk resonate down to the present.
"Vague" began, as it happened, a few months after "England's Dreaming" left off: in the post-punk diaspora of late 1979. Turning nineteen years old in sunny Salisbury, Tom Vague began by featuring local punk bands as well as all the major acts that passed through or nearby - the Banshees, the Cure, the Ruts, Joy Division, Red Krayola, the Gang of Four, Clash, Adam and the Ants. It wasn't a pure punk fanzine - it was too late for that - but matched punk irreverence with the overall feeling of experimentation that still existed at the end of the 1970's. Over the first few issues, "Vague" continued to work out the possibilities of independence - in all senses of the word - that had been pioneered in 1976 by Mark Perry (fanzines) and in 1977 by Buzzcocks and the Desperate Bicycles (seven inch records). The whole point about fanzines and DIY singles was that you didn't have to do what everyone else did. So "Vague" mixed up reviews with Perry Harris' cartoons and what Tom describes as 'stream of consciousness prose' that reflected the chaos and the intimacy of the moment. Vague followed the post-punk strands - from the Ants to Goth to Crass to Psychobillies and Positive Punks - through to the mid 80's, and Tom's commentary precisely dates the changes. In the notes for Issue 12, July 1982, he observes that 'it was around this time that the number of exaggerated Mac Curtis haircuts increased around London and Theatre of Hate indirectly started the punkabilly cult, which consisted of disillusioned young Ants fans and reformed punky types, largely Londoners. Suddenly everyone started to look like Kirk Brandon'. Tom Vague recorded the present without any thought to posterity. Because he noted the moment so thoroughly, he became a historian, providing a record of Punk's most obdurate and persistent strands. In documenting the chaos of the 1980's from within, he has preserved a forgotten narrative of that decade: not Live Aid, New Romantic Pop or Thatcher, but a dogged and anarchic strand of youth culture that persisted into the flowering of rave in the early 90's. This collection should be read by any serious enquirer into the period." (Jon Savage : 2017)
Seattle's Gang of Four changed the face of the city in the 1960s, '70s, and '80s by bringing four ethnic groups together in battle against city powerbrokers over development, poverty, fishing rights, and gentrification. The four leaders learned quickly that working together provided greater results than working apart. This is the story of a powerful political alliance and lifelong friendships forged through sit-ins, protest rallies, and other acts of civil disobedience. "We got very good at occupying buildings," remarked one of the Gang. Bob Santos and Gary Iwamoto recall how a Native American, Asian American, African American, and Mexican American came together to fight for their neighborhoods and their people. Bob Santos has spent most of his life in the International District of Seattle. He grew up in the N.P. Hotel with his widowed father, Sammy Santos, a professional prizefighter. He was hired in 1972 to lead the International District Improvement Association (Inter*Im). During his tenure at Inter*Im, Santos organized property owners, businesses, residents, and activists from the Asian American community to preserve the neighborhood and build new housing. Gary Iwamoto is a regular contributing writer for the International Examiner, an Asian Pacific Islander community newspaper. He has written several plays, notably Miss Minidoka 1943, which was produced by the Northwest Asian American Theater. He and Bob Santos also wrote Humbows, Not Hot Dogs in 2002.
Nirvana, the immortal grunge Rock and Roll Hall of Fame inductee, is as relevant and influential as ever. Kurt Cobain, Dave Grohl, and Krist Novoselic comprised Nirvana, the band that unintentionally tore the music world asunder with the 1991 album Nevermind. The record that includes hits such as "Smells like Teen Spirit," "Come as You Are," and "Lithium" continues to rattle speakers with grunge that truly rocks. Kurt Cobain and Nirvana, Updated Edition tells the fully illustrated story of the band that spoke for Generation X in the '90s. Here we are, a quarter century after Nirvana irrevocably changed rock and roll, and the band continues to make headlines and influence music lovers. A documentary about the band and Cobain's solo album Montage of Heck: The Home Recordings were released last year, demanding a closer look at one of rock and roll's geniuses. Kurt Cobain and Nirvana reveals the band's history with fresh eyes, telling the story of a group that instigated a return to punk-inspired rock. This updated edition of the first-ever complete illustrated history of Nirvana features the writing of a sparkling team of grunge-rock experts and word slingers. The book also includes performance and backstage photography, as well as handbills, singles, ticket stubs, gig posters, and other memorabilia that complement the narrative. You'll also find album reviews, gear breakdowns, and mini synopses of Cobain's fifty all-time favorite albums. Nirvana's ride was a wild one - and all too brief.
Praise for Design Patterns in Ruby "Design Patterns in Ruby documents smart ways to resolve many problems that Ruby developers commonly encounter. Russ Olsen has done a great job of selecting classic patterns and augmenting these with newer patterns that have special relevance for Ruby. He clearly explains each idea, making a wealth of experience available to Ruby developers for their own daily work." —Steve Metsker, Managing Consultant with Dominion Digital, Inc. "This book provides a great demonstration of the key 'Gang of Four' design patterns without resorting to overly technical explanations. Written in a precise, yet almost informal style, this book covers enough ground that even those without prior exposure to design patterns will soon feel confident applying them using Ruby. Olsen has done a great job to make a book about a classically 'dry' subject into such an engaging and even occasionally humorous read." —Peter Cooper "This book renewed my interest in understanding patterns after a decade of good intentions. Russ picked the most useful patterns for Ruby and introduced them in a straightforward and logical manner, going beyond the GoF's patterns. This book has improved my use of Ruby, and encouraged me to blow off the dust covering the GoF book." —Mike Stok "Design Patterns in Ruby is a great way for programmers from statically typed objectoriented languages to learn how design patterns appear in a more dynamic, flexible language like Ruby." —Rob Sanheim, Ruby Ninja, Relevance Most design pattern books are based on C++ and Java. But Ruby is different—and the language's unique qualities make design patterns easier to implement and use. In this book, Russ Olsen demonstrates how to combine Ruby's power and elegance with patterns, and write more sophisticated, effective software with far fewer lines of code. After reviewing the history, concepts, and goals of design patterns, Olsen offers a quick tour of the Ruby language—enough to allow any experienced software developer to immediately utilize patterns with Ruby. The book especially calls attention to Ruby features that simplify the use of patterns, including dynamic typing, code closures, and "mixins" for easier code reuse. Fourteen of the classic "Gang of Four" patterns are considered from the Ruby point of view, explaining what problems each pattern solves, discussing whether traditional implementations make sense in the Ruby environment, and introducing Ruby-specific improvements. You'll discover opportunities to implement patterns in just one or two lines of code, instead of the endlessly repeated boilerplate that conventional languages often require. Design Patterns in Ruby also identifies innovative new patterns that have emerged from the Ruby community. These include ways to create custom objects with metaprogramming, as well as the ambitious Rails-based "Convention Over Configuration" pattern, designed to help integrate entire applications and frameworks. Engaging, practical, and accessible, Design Patterns in Ruby will help you build better software while making your Ruby programming experience more rewarding.
